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Cannes - 59ª Edição (2006)

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Nossa, mae! Que Maria Antonieta venha com tudo....


Ateh hoje estava sem noticias sobre o festival. Ridicula falta de informacao....


Que bom que l foi bem. Acabei de ver na ABC, algo sobre Brad Pitt no filme, qle foi citado por um dos caras do juri como uma adicao? Sei lah, meu ingles naum eh perfeito.


O que foi que houve?



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Eu vi algumas cenas de BABEL e achei o filme promissor. Iñarritu já provou ser extremamente talentoso no que diz respeito á condução de situaçòes dramáticas e direção de atores.


As cenas de Brad Piit que vi são muito boas.


Parece ser um nome interessante para Cannes e quem sabe, para o próximo Oscar...

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Eu ficaria muito feliz com isso, Brad Pitt sendo indicado mais uma vez. É um ator que vive se aventurando em território não-hollywoodiano, tem lá suas recaídas mas ainda assim acho ele um bom ator. Mas não vou me animar muito com os resultados de Cannes, como eu fiz com o Tommy Lee Jones no ano passado. smiley13.gif

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24/05/2006 - 07h26
"Maria Antonieta", de Sofia Coppola, é vaiado em Cannes







CANNES, França, 24 mai (AFP) - O filme "Maria Antonieta" de Sofia Coppola recebeu a primeira vaia da competição do 59º Festival de Cannes, onde foi exibido nesta quarta-feira.

Ao fim da primeira projeção para a imprensa, o longa-metragem recebeu poucos aplausos, que foram rapidamente superados por assobios e vaias.

A decepção com o filme foi tão grande quanto as expectativas que o mesmo havia provocado. Terceiro longa-metragem de Sofia Coppola, diretora revelada em Cannes com "As Virgens Suicidas" em 1999 e que conquistou reconhecimento internacional em 2003 com "Encontros e Desencontros", "Maria Antonieta" era uma das fitas mais esperadas do Festival de Cannes.

Coppola narra a história da rainha da França desde sua chegada da Áustria, adolescente, à corte de Versalhes, até a saída da família real do grande palácio, em plena revolução.

Entre kitsch e rock, a Maria Antonieta de Sofia Coppola é mostrada como uma pobre adolescente perdida em meio ao protocolo da corte e que tenta esquecer as frustrações com doces e gastando uma fortuna em jóias e vestidos.
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A critic said: "It's a bit of a Barbie Antoinette. It's a beautiful object, but I was not touched".

Sofia responded to all the bad critics wisely:
"I wasn't making a political movie about the French Revolution, I thought she was an interesting character, ... and I've always been interested in 18th century France.

I think it's better to get a reaction that people either really like it or don't like it, than a mediocre response".

http://news.yahoo.com/s/afp/20060524/ennew_afp/afpentertainm entfilmcannes_0605241058

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Heheheh... good answer!


Tambem fiquei triste com essa reacao. Pelo jeito naum serah favorito nunca mais!


Se bem que falar que Volver ou l possam ser favoritos, eh naum ter acompanhado as premiacoes de anos anteriores onde filmes favoritos naum levaram o premio. Pelo menos naum os mais favoritos....



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Em compensação, A Scanner Darkly, de Richard Linklater, foi aclamadíssimo! Segundo KMF, é filme pra circuito restrito.

E não creio em prêmio nenhum pra Babel. Reparem em que Cannes nunca mais premiou as fitas mais badaladas. E será mesmo que o cinema do Iñárritu se afina com o de Wong Kar Wai?


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Vixi que tão vaiando todo mundo esse ano... aliás' date=' alguém tem mais notícias de Southland Tales?[/quote']

Jeffrey Wells disse que a versão exibida em Canes não deve ser a final:

So it turned out that two youngest American filmmakers with films in competition here -- Southland Tales's Richard Kelly, 31, and Marie-Antoinette's Sofia Coppola, 35 -- got slammed the hardest. Had to hurt. For what it's worth, the Southland Tales team said they were on schedule to finish the film in mid-June, and when they heard they'd been accepted (they expected to show it out of competition, at best) it was general quarters, no notes handed to Kelly, not enough money to finish some of the things they had to finish and rush-rush-rush. I'm certain there will be another big critics' viewing down the road (maybe in Toronto) and by that time some of the length and clarity issues will, I presume, be resolved.

uma olhada em críticas bem divergentes sobre o filme:

. essa é do Village Voice:

Not so the most audacious, polarizing, and to my mind, enjoyable movie in the competition thus far: Southland Tales.

Kelly's second feature is as talented as—and even more ambitious than—his debut, the cult hit Donnie Darko. A high-voltage farrago of unsynopsizable plots and counterplots, Southland Tales unfolds—mid–presidential campaign—in an alternate, pre- and post-apocalyptic universe where Texas was nuked on July 5, 2005, and a German multinational has figured out how to produce energy from ocean water. The mode is high-octane sci-fi social satire; the cast is large and antic (with wrestler Dwayne "The Rock" Johnson as an anxious, amnesiac action hero and Sarah Michelle Gellar biting down hard on the role of socially conscious porn queen Krysta Now).

Essentially, Southland Tales is a big-budget, widescreen underground movie. ("Star-Spangled to Death," one colleague commented as we left the screening.) Filled with throwaway gags and trippy special effects, it's a comedy as well. Philip K. Dick is the presiding deity—the movie is thick with drugs, paranoia, and time-travel metaphysics—although Karl Marx (and his family) keep surfacing in various guises, including the last remnant of the Democratic Party. The film is a mishmash of literary citations, interpolated music videos, and movie references—most obviously to Robert Aldrich's Kiss Me Deadly—but it's even more concerned with evoking the ubiquitous media texture of contemporary American life.

At two hours and 40 minutes, Southland Tales flirts with the ineffable and also the unreleasable. There's no U.S. distributor; nor does the movie's humor, much of it predicated on a familiarity with American television, political rhetoric, and religious cant, seem designed to travel easily. Received with a lusty round of boos and a smattering of applause, Southland Tales provoked the festival's most negative press screening and hostile press conference since The Da Vinci Code. The first question suggested (incorrectly) that Kelly's movie had set a Cannes record for number of walkouts and asked the director how he felt.

Why was the Kelly Code too much to take? Sensory overload is certainly a factor, but unlike Da Vinci, Southland Tales actually is a visionary film about the end of times. There hasn't been anything comparable in American movies since Mulholland Drive.

.essa é do Indiwire:

Anyway, back to Southland Tales. Part of the problem with trying to review this overstuffed folly, even in rushed, conversational capsule form, is that the amount of sheer unadulterated stuff Kelly throws at the screen precludes any kind of coherent synopsis. (In that respect -- but only that respect -- it reminds me a bit of Arnaud Desplechin's Kings & Queen, another movie most egghead American critics liked a lot more than I did.) You've got a crypto-fascist arm of the government called (I believe) USIdent; you've got radical neo-Marxist groups attempting to swing California in an upcoming election with the use of severed thumbs; you've got The Rock as a famous actor whose screenplay foretells the forthcoming apocalypse, and who begins to confuse himself with his fictional hero; you've got Wallace Shawn with bizarro hair as some kind of sinister energy mogul, plus Zelda Rubinstein as his...assistant? (nothing in this movie is that clear); you've got Seann William Scott as a beach cop who's replaced his identical twin brother for reasons that only become apparent in the film's third hour (by which time your brain has long since gone numb); you've got Miranda Richardson pulling pinched faces in front of a bank of video monitors, which appears to just be something that Kelly can randomly cut to for rhythmic purposes; you've got Kevin Smith overacting in a big stupid beard; you've got Sarah Michelle Gellar and three other hotties providing the newsflash that porn stars are stupid and shallow; you've got Justin Timberlake narrating events in the quavery voice of an 80-year-old woman...the absurdity just goes on and on, and yet everything remains disconnected and surface-level, weird-for-weird's-sake. Yes, Kelly addresses a handful of hot-button topics -- the growing infringement of civil liberties in the name of the war on terrorism; the increasingly symbiotic relationship between politics and entertainment -- but only the most shallow, simplistic, name-checking kind of way. Which would be forgivable if the movie were remotely funny, but it just plain isn't, despite the painfully labored efforts of the entire cast. Hence my previous reference to Hudson Hawk -- a much better movie, I have to say -- which is the last time I can remember seeing so much strained pseudo-satirical whimsy in one motion picture.

Incidentally, I have yet to see an actual printed review of Southland Tales that wouldn't qualify as a pan. The rave reviews I mentioned in my last entry, for the moment, remain only a rumor.

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Parece que Maria Antonietta não foi vaiado desse jeito que tão dizendo, bem que eu li que houveram vaias, mas foram poucas,  matéria do Roger Ebert :

. Here is what Ebert said:


But I was present at the screening and would guess not more than five people, maybe 10, booed. Many others applauded. Booing is always shocking to North American critics; I am not sure I have heard booing more than once or twice in all my years at the Toronto, Sundance, Telluride, Chicago, Montreal or New York festivals. In Europe, they boo all the time, sometimes because they think a film is bad, sometimes because it is (according to them) politically incorrect.

The reports of booing have disturbed Coppola, who on a few hours’ notice unexpectedly withdrew as the guest of honor for festival president Gilles Jacob’s formal dinner Thursday night at the Carlton Hotel.

Guru of the breakfast table: Pierre Rissient, one degree of separation from everyone in the world of French cinema, holds court at breakfast at the Hotel Splendid. Known for always wearing T-shirts on all occasions including formal ones, he is a supporter of Sofia Coppola's "Marie Antoinette" and believes its reception at Cannes has been distorted by scattered booing at the press screening.

“I don’t know why Variety thought the French were booing,” Pierre Rissient told me the next morning in the sunny breakfast room of the Hotel Splendid. Rissient is one of the best-connected people in the world of French cinema; he represents one degree of separation.

“The French critics saw the film in Paris before it played here. The reviews were mostly very good. It opened in Paris yesterday and is doing terrific business.




Enfim... Beckin Lohan2006-5-26 1:50:33

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Mulholland Drive é péssimo! Minha opinião... não gosto de filmes naquele estilo! E já que Cannes e Oscar são assuntos badalados aqui, é bom lembrar que o Cannes tem pouquíssima, senão nenhuma influência no Oscar. Basta ver, como alguém muito bem lembrou, Tommy LeeJones ano passado. Eu também apostei nele quando ele levou aqueles prêmios em Cannes e depois não deu em absolutamente nada!!

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  Ei, alguém sabe se alguma emissora (certamente a cabo) vai cobrir algum pedaço do festival???

  Quanto a possíveis vencedores, acho que Volver leva. O filme foi bem recebido, e acredito ser o tipo que o Kar-Wai premiaria. Levanto essa hipótese, lógico, baseando na qualidade de todos os filmes que (certamente) eu vi no festival que (certamente) eu acompanhei, e em todo meu (amplo) conhecimento sobre filmes e (principalmente) sobre o festival.

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E tão saindo os vencedores ( não sei se saíram todos já ) :

Palme d'Or
The Wind That Shakes the Barley

Grand Jury Prize

Jury Prize
Red Road

Best Actress
The Cast of Volver

Best Actor
The Cast of Days of Glory

Best Director
Babel - Alejandro Gonzales Inarritu

Best Screenplay

Que nada haver achei os premios de ator e atriz pros "casts" smiley5.gif, tão pobrinho isso.

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